Clients giveth, and sometimes clients taketh away, too. I’ve just learned that ICM has signed Nigel Lythgoe, the executive producer of American Idol, away from CAA (which still reps the show, however). But Matt Bomer, the star of USA Network’s White Collar, and James Badge Dale, the star of AMC’s Rubicon, have left ICM to go to CAA. Meanwhile, I hear that Idris Elba, who is currently an ICM client, is taking meetings with the other major agencies. (Elba is the British actor who just signed to play Alex Cross in David Twohy’s Cross based on the James Patterson novels, and stars in the 6-part BBC mini-series Luther playing another maverick cop.) British comic Steve Coogan, who has the busy production company Baby Cow, has left UTA for CAA. Finally, former WME client Chris Offut, who wrote the Epix/Lionsgate pilot Tough Trade, has signed with ICM.
UPDATE: UTA has signed writer/director Bryan Bertino (The Strangers), and his producing partner Adrienne Biddle, away from CAA. Also signed Nick Palmer and Jeremiah Friedman who wrote Family Getaway.
Editor-in-Chief Nikki Finke - tip her here.


Really…UTA signed Biddle and Bertino “away” from CAA? What exactly did UTA sign? Bertino directed a modest hit 4 years ago that he was fired off of during post and Biddle hasn’t had a job in years. The real story is that CAA rid themselves of a toxic, self centered disaster and his lower companion.
care to elaborate..?
I wonder if Idris believes he can do better than his current agent at ICM? Candidly speaking, there are limited roles for black actors with a limited base. You’re going to have to work harder than your peers no matter who reps you when you’re not quite a superstar with crossover appeal. It’s pretty rough out here for minorities on EVERY level and changing agents won’t really matter. Sometimes you just have to find that perfect vehicle for yourself.
Also noteworthy – Paradigm’s Tim O’Hair joins Parallel Media as Head of Development.
This is all BS. A bunch of ego centric people who think that their agency is the problem. In some cases, that is the truth. In most cases, it’s the client. And no, I do not work at a major talent agency.
I’m sorry Steve Coogan. Your new agent at CAA will be an assistant. Nobody cares about your Baby Cow Productions or whatever BS you have going on.
What’s the deal with ICM being unable to keep these people? Yeah – the lit thing seems to be working but they can’t keep hold of the actors.
You all ask why clients are switching left and right. More then ever its the economy stupid. It doesnt matter if studios do well, their parent corporations might be taking it in the shorts for other reasons that have nothing to do with Hollywood. So maybe the Studios are asked to cut back production. Thus the agencies cant get as many jobs for their client. So poaching whatever clients actually work becomes even more important. The cycle continues in a downward spiral. As a Studio can die or evaporate, dont kid yourself, it can happen, so can an agency.
We are now in uncharted territory. But your question is how do Agencies lose clients, when others seem to be gaining clients.
Three reasons.
The Setup – This would be there building, their receptionist, the way the company looks and feels. Some clients are already signed before the meeting signing meeting even starts. I think we could all agree whether you like it or not CAA is winning with their Steel and Glass enormous office. WME is spread btw a few buildings, and over different floors. It is not uniform as the old Endeavor was. UTA – looks good if it was 1995. That is why you will see them move next. Gersh is ok, but not so great. Paradigm’s set up would be the second best to CAA. Great building, lots of history. APA, pretty good, but they are barely in Beverly hills. People notice these things.
The Performance – This is what happens in the room, how well are the agents prepared. Are they telling you what you want to hear, or what they really have planned for you. Are they being specific, or just talking agent generalities. Who is in the room. The heads of departments, or the Junior Schnooks. We can argue til the cows come home who is the best as this. Once again I would put CAA. You can rank the rest.
Lastly THE PRESTIGE – other wise known as the effect. The WOW factor. How is this done. Sometimes subtly, subliminally, or outright in your face. Why do you like Mastros better then Sizzler, they both serve steak. You like Mastros because you have heard about it, its out there in the either, maybe one time when you went there you saw some patrons who were famous or infamous. The drinks are bigger, they give you that long pour on the Martini, and give you the shaker to boot.
Its the same reason why certain nightclubs are rocking, and others die off. Well its is not beneath an agency to have you get in touch with some of their star directors. Or if they are signing a star director, hey Mr. Smithee would you like to meet Brad Pitt.
We could have you at coffee with Anne Hathaway next week. Once again CAA wins. STAR POWER, AGENT POWER, you dont want to admit it but you want to be there.
The only reason you leave is for lack of attention.
Why does CAA dominate, because features dominates. It doesnt matter that TV makes up to 70% of the income at the big agencies. The big agencies dont even make money on some of their big feature agents. But they pay them or they will lose the stars and huge writers and directors.
Now if feature talent and Lit is the top of the heap. Dramatic writers, Directors, and Actors is the top of the top. Hence a Great agencies is run by Feature Agents, who have clients that win awards in DRAMA. Every comedy Actor would kill to be in a drama, but it is not true the other way.
So if a department is being run by a comedy person, that is only because 1) that the agency doesnt have a Dramatic agent who is willing to do the job, or that the Comedy Agent makes the company too much money and demands the job. These companies should not let these comedy agents rule. It is a great business, but it doesnt have the panache or cache. Commercials is a great business but you dont see a commercial agent running things.
CAA wins again,(and NO i am not a CAA clone) just telling it as it is. CAA has Huge FEATURE agents with Redundant Dramatic Clients winning Umpteen awards. Every year in and out They are first or second in Academy Award Noms. Maybe Endeavor beat them one year. Or somebody else another. But it is usually CAA. The SAG awards, forget about it, CAA. DGA awards, usually CAA.
So listen and Learn, if TV agents are running the Company, I mean in charge like WMA was before Wiatt took over. Something is wrong!
If comedy Agents are running Feature Departments something is wrong.
TV and comedy $$$ keeps the lights on, but the Prestige keeps them thinking about the agency 24/7. Who directed the Prestige. Chris Nolan, where is he repped CAA.
Enough said. Lesson over!
pretty friggin awesome
Wow, that was an awful lot of words to make the controversial point that CAA sure has a lot of big names on their roster — who knew??
At least the other agencies can afford to validate parking.
anyone that uses Mastro’s as their steakhouse of prestige has no taste in my opinion.
You have nothing more than a cursory understanding of how agency works or what works inside of it. Stop making shit up.
I have a huge problem with people who try to analyze these situations. A relationship with an actor and his/her agent is very personal, and unless you’re listening to the phone calls and reading the emails you really have absolutely no idea why a client has left – or if they were let go.
Mazal tov! You’re a mogul!
Legacy, you make some valid points. However, you can overpay feature agents only for so long… Oh wait!!! maybe you can sell 35% of the company so you have extra money to overpay these agents (this is great for all future agents as well).
CAA’s pitch has always been “Look at the star power we have.” If those stars are not working who cares? Do you want to be at an agency because you want to eat with Brad Pitt? or because you want to work? Do you want to rep the actress who gets $20 million a film but hasn’t worked in 2 years, or one that makes 1 mill on several films a year? Your ego says the first, but your bank acount will argue the 2nd. CAA, Whats that? The 1st helps you sign other A-list clients? Really? 1st question I am going to ask you is what happened to that overpriced Actor that hasn’t worked in 2 years? Most of the people jumping agencies are people who are unhappy in this economic enviroment and must put blame on anyone other than themselves. Last I checked a bigger fountain in the lobby doesn’t make a better agent.
ICM Talent division is excellent.
Everything will even out in the long run. Cream does rise to the top.
That’s what I had thought, especially recently with some of their hires. It’s just weird to see those defections and wonder, what gives? Is “Legacy” right that CAA is simply a talent-suck because of their ‘tools’ he describes? Agreed with another poster that Idris may find himself on the short end over at a place like that when he could continue to be a ‘star’ at ICM.
I guess this begs the question: Compared to what?
Cream may rise to the top, but it’s mostly fat…